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J. C. DIETZ.

HARP.-

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J 0. DIETZ.

HARP. No. 394,467. Patented Dec. 11, 1888.

InI/en tor,

W finamt lwmflm N PETERS. Phnb-Uthognpbn. Walhingim D UNITED STATES; PATENT OEEicE.

JOHN C. DIETZ, OF RUE DE LA PRESSE, BRUSSELS, BELGIUM.

HARP.

SPECIFICATION forming part of Letters Patent N0. 394,467, dated December 11, 1888. Application filed March 3, 1888- Serial No. 266,092, (No model.) Patented in Belgium March 26, 1887.

To all whom it may concern.-

Be it known that 1, JOHN CHRISTIAN DIETZ, engineer, a subj ectof the King of Belgium, residing at 17 Rue de la Presse, Brussels, in the Kingdom of Belgium, have invented certain new and useful Improvements in Harps, (for which I have obtained Letters Patent in Belgium, dated March 26, 1887;) and I do hereby declare that the following is a full, clear, and

exact description of the invention, which will enable others skilled in the art to which it ap- I pertains to make and use the same.

The invention relates to the application to a harp of a novel arrangement and combination of parts, whereby the same maybe played by means of a key-board in a similar manner to a piano and yet produce the sounds of the harp. Its external form recalls that of the harp, and all the cords or strings are similarly visible. The mechanism which produces the sound is put into motion as soon as a key is depressed and acts in a similar manner to the fingers of a harpist.

The ordinary harp is very difficult to play. These difficulties, combined with the inherent inconveniences of the instrument, limit its use. It is furnished with catgut strings, which are affected by all the influences of tempera- *ture and require to be frequently tuned. The necessity of playing the cords or strings with the fingers renders it difficult to obtain equality in' the sounds. It gives only the natural sounds of the diatonic gamut. In order to obtain the various changes of tone, it is necessary to operate numerous pedals. Playing the harmonics and the execution of trills are very difficult. Finally, it is not provided with dampers. The instrument, constructed according to the present invention, presents none of these numerous inconveniences.

I employ metallic cords or strings covered with an insulating or muffiing materialsuch as cotton, silk, linen, metallic wire, or other materialwhich has for its obj ectto give the sound of catgut strings and to prevent their falling out of tune.

The key-board, divided like that of a piano, permits of playing in all tones without its being necessary to operate any pedal. Any person who can play the piano can play upon my instrument.

My key-board harp is provided with three pedals. The first is that which corresponds with the dampers. It permits of playing forte or of damping the sound. The second pedal puts in motion a slide (chevalet) which divides the strings or cords into two equal parts to give the harmonic sounds to the octave. The third pedal operates a slide (ehevalet) analogous to the former. This latter divides the strings or cords into three equal parts to produce harmonics to the fifth. An ordinary keyboard being the intermediary between the movement of the mechanical fingers which play the cords or strings and the artist, perfect equality is obtained in the playing. M y instrument is therefore more complete than the harp, easy to play and to tune, and it is susceptible of producing special effects.

I will now proceed to describe my inven tion, referring to the accompanying drawings.

Figure 1 represents my instrument in perspective.

The cords or strings A are placed vertically. They are hooked onto pins or pegs fixed at the lower part of the ease or frame and wound around wrest or tuning pins B, mounted in the neck C. A bridge glued upon a sound-board, the plane of which is parallel with that of the cords, divides these at their lower part, accordingto the required lengths to obtain the (litterent tones of the gamut. The bridge D of the neck limits their length at their upper part. The movable slide (chevalet) E, operated by the pedal A, divides the cords or strings into two equal parts. The slide F, moved by the pedal H, divides them into three. The pedal I puts into motion the dampers, properly so called. A column or pillar, J, serves to support the neck on the bass side, and the tuning-pin neck O rests directly on the frame at the opposite side. The key-board K is the intermediary between the artist and the mechanism which plays the cords or strings. Fig. 2 is a side view of the action, and Figs. 3 and ii: are respectively front and top views of the same.

The mechanism or action which is here represented consists of a key, L, toward the middle of which is fixed a wood pillar or upright, M, at the upper end of which is a pin, N, on which is placed the finger mechanism 0. At or near the rear end of the key L is placed a piece of lead, P, the weight of which is calculated, so as to insure the recovery of the key after it has been depressed by the pressure of the finger thereon. These lead weights might be replaced by springs .acting directly on the key or on the wood pillar or upright M. Yhen the key is depressed, the wood pillar or upright M moves forward, as indicated by the arrow, and in this motion it carries with it the mechanism which plays the cord or strir g. A flat pin, Q, fixed in a cross-bar, R, holds the wood pillar or upright M in its vertical position. A cross-bar, S, limits the forward motion of the wood pillar or upright M and prevents the jumping of the key during playing. This crossbar could be placed behind the keys at U, or replaced by buttons V, screwed on the forward ends of the fiat pins Q. I

The entire finger mechanism rests on a cross-bar, T. Fig. 5 shows an enlarged view of the upper part of the action represented in Fig. 2, and Fig. 6 represents detail views of the two dampers. The different parts of such mechanism serve to assure and regulate its movements. The finger w catches against the cords or strings when it is drawn forward, and is replaced in position when the sound has been produced and the key retakes its normal position. This mechanism consists, as shown in plan and elevation, of a block, W, at the end of which is fixed a metallic hook or finger, w. A connecting-block, X, provided with a hole, so as to enable it to be placed 011 the'pin Nat the upper end of the pillar or upright M of the key, is connected with the finger-block IV by means of a rod or wire, Y, screwed in contrary directions at its ends, so that by turning it the distance can be regulated between the two parts \V and X. An escapement-piece, Z, fixed to the finger-connecting block X by means of a spring, a, serves to cause the escape of the fingerw from the cord or string A, the escapement being effected against a fixed pin, b, or other suitable abutment.

An inclined piece, 0, fixed to the fingerblock \V, serves to replace the entire finger in position, after the sound has been produced, in such manner that the finger 10 shall not touch the cord or string A. Guide-pieces d d'one on each side of the finger-block IV serve to guide it in its motions.

In order to obtain sounds varying in intensity, a hole, g, pierced in the finger-block IV, or in the inclined piece 0, fixed theretopreceives a curved wire, f, at the extremity of which is a small weight, 6, more or less heavy, according to the size of the fingers. The curved wire f passes through a hole formed in a bar or plate, h, fixed to the cross-bar'T.

It will be seen from the above-described arrangement that if the key is struck heavily and sharply, so as to draw the fingerrapidly forward, the inertia of the weight 6 will prevent it from at once following such motion, and consequently a certain compression will be put upon the spring f, causing it to press upon the finger in opposition to the spring a, and thus cause it to remain against the guide (1, notwithstanding the incline c has passed out of contact with the guide cl. By this means the finger will be enabled to give a strong pull at the string A, giving a loud sound. As the forward motion of the finger continues after it has passed the string, the inertia of the weight Q will be overcome, and it will move forward with the finger. The spring, now losing its compression, will allow the spring a to press the finger away from the string against the guide I, so that on the release of the finger key the finger will be moved back in this position clear of the string A until the incline 0 again comes in contact with the guide (I, whereby the finger will be made to resume its original position behind the string. During this return motion of the finger the inertia of the weight e will again come into play in exercising a pull on the spring f, and thus assist the spring a in keeping the finger away from the string. The spring f is made to pass freely through the hole in the plate 71, so that only the inertia of the weight 6 will act upon it, and the spring will move without any appreciable frictional resistance. If, on the other hand, the fingerkey is depressed gently and slowly, the finger w will be drawn forward so'slowly that it has time to overcome the inertia of the weight 6 without putting any appreciable compression on the spring f. The result of this will be that so soon as the incline c is freed from the guide d the spring a will at once begin to push the finger toward the latter, so that the part 10, in passing the strings A, will only come slightly in contact therewith, giving a correspondingly-light tone. The fingers w, fixed to the ends of the finger-blocks IV, are covered with cloth, felt, leather, or other suitable material, so that their contact with the cords or strings shall take place with all the softness and sweetness necessary to obtain the most beautiful sound possible. All the holes and the pieces in motion susceptible of producing noise are clothed in the most convenient manner. Fig. 7 represents a modification of the finger mechanism.

In order to simplify the finger mechanism, the curved wire f and its weight 6 may be dispensed with, and the parts \V Y Z X of the finger apparatus may be so arranged,'as represented at Fig. at, that the inertia required to cause the intensity of the sound to be varied may be obtained by means of the mechanism itself. In this case the finger w is arranged somewhat to one side of its actuating-block X, so that when this is rapidly drawn forward by aheavy pressure upon the finger-key there will be a certain lateral pull exercised upon the finger in opposition to the action of the spring 1), causing the string A to be sounded loudly, while if the key is only gently depressed such lateral pull will not have any appreciable action, and the finger being pushed away from the string by the spring Z) only a weak sound will be produced.

A damper mounted on the pin N above the fingerconnecting block X is composed of an inclined piece, 1', connected to the dampercarrying block In by a wire or rod, Z, screwed at both ends to enable the distance between such parts i and 7;. to be regulated. In the inclined piece or damper proper, i is a small pin, m, passing through holes formed in a band of wood,-j, which serves as support to the damper. The said wood band j may receive a lateral movement by means of a pedal, I. (See Fig. 1.) In this motion the dampers i will be removed from the cords or strings and the instrument can be played forte. If, on the contrary, the pedal I is not depressed, the dampers are drawn behind the cords or strings, and do not release them except when the keys are depressed. As soon as the keys again rise the fingers retake their normal position and the dampers press against the cords or strings in order to stop their vibrations. A second damper, n, is placed above or below the firstnamed, Z, and differs from that above described only in the way of furnishing the head 0. The furniture 1) is such that the ('lamping acts only partially. 'hen the key rises, the furniture 1) touches the cord or string A and damps it only partially. The motion continuing, the cord or string again becomes free, in place of remaining damped, as shown in the drawings. This damper has for its object only to damp the cords or strings which are played, while all the others can vibrate by sympathy. In their normal condition these dampers do not act. It is by means of a pedal, q, which causes them to approach the cords or strings, that they are caused to act.

Fig. 8 shows the cross-bar which supports the mechanism as seen from the back.

Between the finger-guides d d is placed a furniture, 7, of leather, felt, or other suitable material, forming a small inclined plane,which has for its object to facilitate the sidewise motion of the fingers.

Having now particularly described and ascertained the nature of my said invention and in what manner the same is to be performed, I declare that what I claim is 1. In combination with a harp, a mechanical finger, to IV, pivoted to a post, M, on the 1 key L, an incline, c, on the finger operating with a fixed guide, (I, for causing the finger to assume a position behind the string A in its backward motion and for keeping the finger in line with the string A on the forward motion, and a spring, a,which forces the finger out of line with the key when the incline passes away from the guide (I.

2. In combination with a mechanical finger such as is referred to in the preceding claim, a weight, such as 6, connected by a spring, f, to the finger, and arranged, in the manner described, that on drawing forward the finger sharply the inertia of the weight will cause the spring to exercise pressure upon the finger in order to produce a loud tone, while on drawing this forward gently the weight will move so as to reduce the pressure of the spring, and thereby produce a soft tone, substantially as herein described.

3. In combination with a harp, a key-board, K, keys L, fingers It, escapement Z, recovery mechanism 0 d d, sound-regulating mechanism e f g, dampers Z n, and damper-operating pedals I q, substantially as herein shown and described, and for the purpose stated.

4. In combination with a harp, a key-board, K, and keys I, provided with mechanism for sounding the cords or strings, consisting of a pillar, M, fixed to the key L, stops R S, a pin, N, at the upper end of the pillar, a block, X, placed on the pin N, said block X being connected to the block \V by a distance-regulating pin, Y, a cord-playing finger, 21*, fixed to block IV, inclined recovery-piece c, fixed to block IV, and guides (Z d, substantially as herein shown and described, and for the purpose stated.

5. In combination with a harp, a key-board, K, and keys L, provided with a pillar, )l, carrying a pin at its upper end, on which is pivotally mounted the mechanical finger that pulls the string, substantially as described.

J. C. DIETZ.

IVitnesses:

B. J. B. MILLs, C. )1. WHITE, Both of 13 Southampton Buildings, London,

England. 

